There have been plenty of articles on the Internet that many television shows with successful first seasons usually decline in quality with its second season. This is known as the “second season curse”. I do not There have been plenty of cases when the quality of a television series has improved with each succeeding season. However, I do believe there are some shows that adhere to this theory. When it comes to Season Two of the CBS All Access series, “STAR TREK DISCOVERY”, some believe it had .

Most Trek fans either believe that Season One of “DISCOVERY” was a disaster. Many were put off by Michael Burnham, who is portrayed by an African-American actress, as the series’ lead. Many had complained about the series’ serialized format. And there were numerous complaints about the season’s ambiguous portrayal of its main characters and the Federation. Despite these complaints, “STAR TREK DISCOVERY” managed to become a big hit and attract many fans. Unfortunately, the show runners had listened to these disenchanted fans who considered themselves “veteran” Trekkers and made certain changes to the series for its second season. I usually have no problems with a series making some kind of changes. It is necessary for a series to develop. However, some of the changes or additions to Season Two of “DISCOVERY” . . . bothered me.

Season Two began with the episode called (2.01) “Brother”, when Captain Christopher Pike of the U.S.S. Enterprise, took emergency command of the U.S.S. Discovery after his ship was damaged during the crew’s investigation of seven mysterious red signals. The last signal led Pike and the Discovery crew to an asteroid made of non-baryonic matter, where they discovered the U.S.S. Hiawatha, damaged during the Federation-Klingon War of last season. How did the Hiawatha crew’s rescue play a role in the season’s overall arc? Were the events of “Brother” more about rescuing Commander Reno and adding a new character to the series? If so, this was a piss-poor and vague way to do it. Reno could have easily been transferred to Discovery as its new chief engineer without this convoluted set-up to bring her aboard the ship. Also, she had played a very limited role in the second season’s narrative. By mid-season, I found myself wondering why she had not returned to Starfleet Headquarters on Earth, following her rescue. I did not learn until after the finale had aired that she had been officially assigned to Discovery. Huh? And there was the matter of a primitive Human colony on a planet called Terralysium. The Red Angel had led the Discovery to the colony and prevented its inhabitants from being destroyed by an extinction-level radiation shower. How did this play a role in Season Two’s overall arc?

Burnham and the Discovery crew eventually discovered that the signals came from a time travel sentient being called “the Red Angel”. And the Red Angel turned out to be Michael’s presumed dead mother, Dr. Gabrielle Burnham. Since viewers learned that Dr. Burnham’s overall goal was to make the Federation aware of dangerous artificial intelligence called “Control”, why did she go out of her way to bring attention to the Hiawatha crew and Terralysium’s inhabitants? As it turned out, Dr. Burnham was not involved in those situations. Michael was. Michael had ended up using the Red Angel suit in the season’s finale, (2.14) “Such Sweet Sorrow, Part II”. And she was the one who had sent the seven signals, including the two that led Starfleet to both the Hiawath and Terralysium. Really? Was that show runners’ way of explaining why the Red Angel led the Discovery crew to situations that had no major impact upon Season Two’s narrative? Frankly, I found this rather a waste of time. Perhaps Michael wanted to save Commander Reno and allow Terralysium to survive when Discovery arrived in the future. But honestly, the show runners and their writers could have handled this with tighter writing.

Or perhaps the above scenarios were inevitable, since the show runners had planned to send the U.S.S. Discovery over nine hundred years into the future. Imagine, a serialized television show’s format or setting undergoing an extensive change in the middle of its run – during its third season. The series went from being about a Starfleet science vessel during the 2250s to one that is exploring the future. Why? Alex Kurtzman claimed that he had wanted to take the series into a new setting so that the writers would not have to work hard to connect the series’ narrative with the 1966-1969 series, “STAR TREK”. Especially since the latter series is set a decade after “DISCOVERY” and so many fans have been crying plot holes upon discovering that Michael Burnham was the adoptive daughter of Spock’s parents, Sarek and Amanda Grayson. Pop culture fans can be incredibly stupid sometimes. And so are the television show runners who listen to them.

Taking the U.S.S. Discovery some 900 years into the future struck me as one of the most unnecessary moves the show runners could have made. I also find the whole idea ridiculous. “STAR TREK DISCOVERY” began in 2256 – a decade earlier than “STAR TREK: THE ORIGINAL SERIES” and aboard another Starfleet ship . . . with a different crew. There would have been NO NEED for the series to make a concerted effort to connect with the 1966-69 series, despite Michael Burnham being the adopted sister of Spock. At best, Spock, Sarek and Amanda can make the occasional appearance on the show. If “DISCOVERY” ever lasts as long as those shows between 1987 and 2001 – “STAR TREK: NEXT GENERATION”, “STAR TREK DEEP SPACE NINE” and “STAR TREK VOYAGER” – the series’ setting would have ended in 2263 or 2264 – at least two to three years before the beginning of “THE ORIIGNAL SERIES” setting. Did any of the show runners ever considered this? By changing the premise, “DISCOVERY” will only end up being some kind of time travel version of “VOYAGER”. And that does not strike me as particularly original.

There is another problem with the new direction that the series had undertaken in the Season Two finale – namely the former Most Imperial Majesty, Mother of the Fatherland, Overlord of Vulcan, Dominus of Qo’noS, Regina Andor, Philippa Georgiou Augustus Iaponius Centarius of the Mirror Universe. As everyone knows, mirror Philippa eventually impersonated the deceased Captain Georgiou prime as a retired Starfleet officer and later became a Section 31 operative. Midway during the airing of Season Two, it was announced that Michelle Yeoh, who portrayed Georgiou, would headline a new Trek series in the near future about Section 31. Why is this a problem? Georgiou was one of the Starfleet personnel aboard Discovery when it followed Michael in the Red Angel suit . . . into the future. If Discovery being 900 years in the future is the series’ new premise, how will Georgiou return to the 2250s in order to continue her story with Section 31? Someone had suggested that she will command Section 31 in the 32nd century? Really? Why on earth would anyone in Earth’s future allow a woman from the 23rd century assume command of an organization like Section 31?

There were aspects of Season Two that I liked. I found Starfleet’s conflict with the A.I. entity known as Control rather interesting . . . and frightening. Many Trek fans had complained that “Control” should have been portrayed as the origin story for the Borg. What they had forgotten was that around this period in Trek history, the Borg had existed for quite some time and had wiped out the El-Aurian home world. Using “Control” as the Borg’s origin story was out of the question. I also enjoyed how the writers used the spore drive’s mycelial plane to bring Dr. Hugh Culber back from the dead and how this resurrection had affected his relationship with Lieutenant Paul Stamets. I especially enjoyed Michael’s reunion with her missing mother, Gabrielle Burnham. In fact, I could honestly say that I had truly enjoyed the episodes of mid-Season Two – from (2.05) “Saints of Imperfection” to (2.11) “Perpetual Infinity”. However, I did not like the finale, (2.13-2.14) “Such Sweet Sorrow”.

Many had complained that the two-part episode seemed over saturated with action. Or that the finale seemed more “STAR WARS” than “STAR TREK”. The action in “Such Sweet Sorrow” did not bother me. I certainly had no problems with Georgiou’s brutal fight against the Control-possessed Captain Leland. Along with Discovery’s eventual journey into the future, I had some problem’s with the episode’s writing. One of those problems involved Ash Tyler, the former Klingon whose body and consciousness had been transformed into a Starfleet officer who had died during the Federation-Klingon War. Instead of joining the rest of the Discovery crew for their journey into the future, he remained behind to convince Empress L’Rell (his or Voq’s former paramour) to help Starfleet’s conflict against Control. This would be nothing, except Ash had openly contacted L’Rell and was later by her side aboard a Klingon starship during the battle. Apparently, Alex Kurtzman and the episode’s screenwriter that Georgiou and Section 31 had went through a good deal of trouble to end Ash’s brief role as L’Rell’s aide on the Klingon home world in order to save her reign as the new Empress . . . by faking his death. Worse, Starfleet put Ash in command of Section 31, despite his limited experience with the agency and his unsuitability as a spy. Despite the fact that Georgiou had managed to destroy Control and prevent it from acquiring the massive data from the Sphere that the crew had discovered in (2.04) “An Obol for Charon”, Michael and the Discovery crew traveled into the future anyway. Following Discovery’s disappearance into the future, Captain Pike (back in command of the Enterprise) and Ash informed Starfleet that Discovery had been destroyed during the battle against Control. Why? Why did the writers feel that was necessary? I feel as if a great deal of unnecessary writing decisions had been made in this episode to justify the Discovery’s journey into the future.

For me, the biggest frustrations of Season Two proved to be the presence of Spock and Captain Christopher Pike. Especially the latter. But I will start with Spock first. Initially, I had no problem with Spock’s role in the season’s narrative. But once the crew had identified Gabrielle Burnham as the Red Angel and Admiral Katrina Cromwell had returned to Starfleet Headquarters, why did Spock remain aboard the Discovery? Why did he not return to Headquarters with the Admiral and rejoin the Enterprise crew? However, Spock’s continuing presence aboard the Discovery struck me as minor problem in compare to the presence of his commanding officer, Captain Pike.

I have been a fan of Anson Mount since he starred in the AMC series, “HELL ON WHEELS”. But I wish to God that he had never been cast as Christopher Pike in “STAR TREK DISCOVERY”. More importantly, I wish that the show runners had never utilized the character in the first place. I believe Christopher Pike was the worst aspect about Season Two of “STAR TREK DISCOVERY”. His presence on the show struck me as irrelevant. Useless. Why did the show runners have him serve as Discovery’s commander throughout the entire season? Why was he even needed? Saru could have easily remained in command of Discovery after the crew was given the Red Angel mission. This was the officer who had led the ship out of the Mirror Universe. And he had also stood behind the crew’s refusal to obey Starfleet’s order to help Georgiou to decimate the Klingon home world in the Season One finale, (1.15) “Will You Take My Hand?“. With the Enterprise temporarily out of commission, Pike could have appeared in “Brother” to hand over the Red Angel mission to the Discovery crew and to inform Spock’s disappearance to both Michael and Sarek before guiding his damaged ship back to Starfleet Headquarters. Then he and the Enterprise could have returned for the final battle against Control in “Such Sweet Sorrow”.

But no. Certain fans had raised a fuss over an African-American actress serving as the lead of a Star Trek series and cried tears over “DISCOVERY” not being “traditional Trek”. And the series’ show runners had made the mistake of listening to them, despite the fact that “DISCOVERY” was a hit. And with Pike, they had provided these narrow-minded fans with an ideal leading male character to swoon over. But why did the show runners felt it was necessary to appease these fans with the addition of Pike for Season Two? Pike was not needed. Even worse, they did not have to paint Captain Pike as this ridiculously ideal Starfleet officer. Because frankly, he came off as a bore. And bland. There were moments when the series was willing to portray Pike’s idealism and inflexibility as flaws, especially in his conflict with Ash Tyler. However, by (2.09) “Project Daedalus”, it seemed quite obvious that the show runners were determined to paint Pike as “the perfect or near perfect” Starfleet officer. This became obvious in his conflict with Ash. Even when Pike was seen to be in the wrong in both (2.07) “Light and Shadows” and (2.08) “If Memory Serves”, Pike was painted in a more sympathetic light than Ash. If only the show runners had ditched this useless conflict and focused more attention on the fallout between Ash and Hugh from Season One, I would have been more impressed. In “THE ORIGINAL SERIES” episode, (1.11-1.12) “The Menagerie”, Trek fans had first learned about Pike’s future as a paraplegic, due to an accident. Somehow, the writers managed to twist Pike’s future as some kind of “heroic sacrifice” in which he had to give up the idea of accepting Klingon time crystals to defeat Control or taking them and facing a future as a paraplegic. There was no need to include what I believe proved to be a contrived and unnecessary plot twist.

I loved Season One of “DISCOVERY”. Despite some moments of clunky writing, I thought it had provided something new and exciting to the Star Trek franchise. I became an instant fan. There were aspects of Season Two that I liked – Starfleet’s conflict with Control, Dr. Hugh Culber’s resurrection and Michael Burnham’s reunion with her mother, Gabrielle Burnham. However, there were aspects of Season Two that I disliked. Too many. And that included the season finale, (2.14) “Such Sweet Sorrow, Part II”, along with Discovery’s unnecessary trip into the future. Also, I saw no reason for the over utilization of characters like Spock and Captain Christopher Pike. I saw their presence during the season as a heavy-handed attempt with the “nostalgic factor” to win over certain Trek fans still mired in the past. It must have worked to a certain degree. Many have declared Season Two to be superior to Season One.

So in the end, I can only repeat that I do not agree with the assessment that Season Two of “STAR TREK DISCOVERY” was superior to Season One. I believe that the Trek fandom’s desire for nostalgia – especially in the form of Christopher Pike and Spock – has made Season Two overrated in my opinion and a victim of the “second season curse”. And most importantly, I saw no need for Christopher Pike to serve as the temporary commander of the U.S.S. Discovery. I found this decision by the show runners to be completely unnecessary.

Many people love to praise FOX science-fiction series, “THE ORVILLE” to the sky. Many praise it for being the epitome of the “traditional aspects” of the STAR TREK franchise. Even more so than the latest entry of the latter, “STAR TREK DISCOVERY”.

I have my suspicions on why so many love to praise “THE ORVILLE” to the detriment of the CBS Access series. I suspect that both sexism and racism are two of the reasons behind this sentiment . . . especially in regard to the leading lady of “STAR TREK DISCOVERY”. However, there is some aspect or style of “THE ORVILLE” that makes me understand why many others would make this claim about the series being “traditional Trek”. Unfortunately, I do not think this aspect has proven to be beneficial to the FOX series.

How can I be anymore blunt? To me, “THE ORVILLE” is basically a remake of the second Trek series, “STAR TREK NEXT GENERATION”, but with a touch of leading actor Seth MacFarlane’s style of humor. I just wish the series could be different. Offer A DIFFERENT STYLE in its presentation of episodes. It had recently occurred to me that “NEXT GENERATION” reminded me a lot “STAR TREK THE ORIGINAL SERIES” than any of the other Trek shows. In terms of format and the style of shows, it is almost seems like a remake or continuation of the 1966-69 series. Perhaps this is not surprising considering that the 1987-94 series, along with “THE ORIGINAL SERIES”, was created by Gene Roddenberry. This could be a reason why it seems more beloved by the franchise’s fandom and producers, save for the first series.

My recent viewing of “THE ORVILLE” made me suspect that it pretty much repeated what “NEXT GENERATION” had done in terms of storytelling and format. Although both shows were willing to explore the different quirks and minor flaws of its main characters, both seemed hellbent upon portraying Humans as generally more superior than other alien races. Both shows seemed willing to put humanity on a pedestal. The Moclus race, as personified by the Lieutenant Commander Bortus character, bears a strong resemblance to the Klingons of the 24th century. And Bortus seems to be another Lieutenant (later Commander) Worf. Even the relationship between MacFarlane’s Captain Ed Mercer and Adrianne Palicki’s Commander Kelly Grayson almost seems like a re-hash of the Commander William Riker and Counselor Deanna Troi relationship, as portrayed by Jonathan Frakes and Marina Sartis in “NEXT GENERATION”. And yet, the Trek shows that followed “NEXT GENERATION” seemed to be willing to offer something different.

“STAR TREK DEEP SPACE NINE” was set on a space station and possessed a narrative structure that very slowly developed into a serial format by its third season. “STAR TREK VOYAGER” featured a crew traveling alone on the other side of the galaxy that comprised of Starfleet officers and crewmen, Maquis freedom fighters, an ex-convict/former Starfleet officer, two aliens and a former Borg drone. Superficially, “STAR TREK: ENTERPRISE” seemed a lot like “THE ORIGINAL SERIES” and “NEXT GENERATION”, but it was set a century before 1966-69 series – during the few years before the establishment of the Federation, and it featured a serialized narrative about a major war during its third season. “STAR TREK DISCOVERY” proved to be a Trek series that has been serialized since its first episode. More importantly, its main character IS NOT a star ship or space station commander.

The Trek shows that had followed “NEXT GENERATION” have been more willing to explore the uglier side of the Federation, Starfleet and Humanity; than the first two series. This has been especially apparent in “DEEP SPACE NINE”, “VOYAGER” and “DISCOVERY”. And aside from “VOYAGER, the Trek shows that followed “NEXT GENERATION” have been willing to utilize a serialized format – something that many fans seemed to lack the patience to endure lately. Most of this criticism toward a serialized narrative has been directed against “DISCOVERY”. However, I personally find this ironic, considering that the other Trek shows have used this narrative device with the same quality as the other shows. At least in my eyes. I suspect that this heavy criticism toward “DISCOVERY” has more to do with the show’s lead than its writing quality. Even “VOYAGER” has been willing to serialized some of its episodes on a limited scale, especially during its mid-Season Four.

Officially, “THE ORVILLE” is not a part of the Trek franchise. Why does it feel that it is? And Why does it have to feel like it? Because its creator and star, Seth MacFarlane, had this need to pay homage to “NEXT GENERATION”? Or even “THE ORIGINAL SERIES”? Why? Some advocates of “THE ORVILLE” have pointed out the series’ style of humor and the fact that it features a LGBTQ couple. However, “DISCOVERY”, which had premiered during the same month and year, also features a LGBTQ couple. And previous Trek shows and movies have featured or hinted LGBTQ romance and/or sexuality in the past – namely “DEEP SPACE NINE” and the 2016 movie, “STAR TREK BEYOND”. Even television series like “BABYLON 5” and “BATTLESTAR: GALACTICA” have featured or hinted LGBTQ issues. But more importantly, both shows, along with “FARSCAPE” and others in the science-fiction genre have managed to be completely original both style and substance. Why did MacFarlane feel he had to literally copy “NEXT GENERATION” when other Trek shows have managed to be more original? The only aspect of “THE ORVILLE” that I truly find original is its occasional use of twisted humor. And even that has appeared even less during the series’ second season.

This is what I find so frustrating about “THE ORVILLE”. One, I feel that it is basically “traditional Trek” disguised as another science-fiction franchise. Even worse, it seems like a close rip-off of “STAR TREK NEXT GENERATION”. I see nothing complimentary about this. I find it sad that so many people do. And I find it even sadder that so many people are willing to put “THE ORVILLE” on a pedestal for . . . what? For the series’ lack of originality? Because these fans want to cling to the past? This is just sad. No . . . not, sad. Pathetic. At least to me.

Below is a list of my favorite episodes from Season One of the All Access CBS series, “STAR TREK: DISCOVERY”. Created by Bryan Fuller and Alex Kurtzman, the series stars Sonequa Martin-Green as Commander Michael Burnham:

“FIVE FAVORITE EPISODES OF “STAR TREK: DISCOVERY” SEASON ONE (2017-2018)

1. (1.09) “Into the Forest I Go” – While ignoring Starfleet’s orders, U.S.S. Discovery’s commander, Captain Gabriel Lorca decides to use the ship’s new core drive in an effort to help end the Federation’s war against the Klingons.

2. (1.07) “Magic to Make the Sanest Man Go Mad” – While the Discovery crew enjoy a party, an unwelcome visitor boards the ship to seek vengeance and bring about a series of bringing about a twisted sequence of events that involves a time loop. This episode has been recently nominated for a Hugh Award for writing.

3. (1.02) “Battle at the Binary Stars” – Incarcerated in one of the U.S.S. Shenzhou’s brig for disobeying an order, First Officer Burham struggles to escape, while the ship is under attack by the Klingon Empire. Later, she joins her commanding officer, Captain Georgiou, in an audacious plan to prevent war.

4. (1.13) “What’s Past Is Prologue” – With the U.S.S. Discovery still stuck in the mirror universe, Captain Lorca plots a coup against the Terran Empire’s ruthless leader, the Emperor Philippa Georgiou. Meanwhile former Starfleet officer Michael Burnham struggles to find a way for the Discovery’s return to their universe.

5. (1.11) “The Wolf Inside” – As the crew continue its deception as being a part of the Terran Empire, Burnham undergoes a merciless mission in hopes of helping the ship return home.

Below is my current list of favorite movies set between 1750 and 1799:

TOP TEN FAVORITE MOVIES SET BETWEEN 1750 AND 1799

1. “The Last of the Mohicans” (1992) – Michael Mann directed what I believe is the best film adaptation of James Fenimore Cooper’s 1826 novel set during the Seven Years War. The movie starred Daniel Day-Lewis, Madeleine Stowe, Wes Studi and Russell Means.

Before I started on this review, I found myself wondering which “phase” in the Marvel Cinematic Universe (MCU) that “GUARDIANS OF THE GALAXY VOL. 2” found itself. Phase Two? Phase Three? In fact, I continued to ponder more about the franchise’s current phase than about the plot for this movie. Until I finally shook myself out of this stupor.

Back in 2014, Marvel Films/Disney Studios released “GUARDIANS OF THE GALAXY” during the month of August, more or less a graveyard for summer films. I suspect that Kevin Fiege had low expectations of the film’s performance at the box office, due to its unfamiliarity with the general public. The movie proved them wrong and went on to become a major box office hit for that year. Due to its success back in 2014, Marvel Films/Disney Studios released a sequel, “GUARDIANS OF THE GALAXY VOL. 2” in the more exulted release date in early May, three years later. James Gunn, who had directed the 2014 film, returned to direct this film. And although he had also served as co-writer of the first film with Nicole Perlman, he served as this film’s sole screenwriter.

Following the events of the 2014 film, Peter Quill aka Starlord and his friends have become renowned throughout the galaxy as the “Guardians of the Galaxy”. The movie begins with the Guardians delivering stolen and valuable batteries to a race called the Sovereign, after they had protected the items from an inter-dimensional monster. In exchange, the Sovereign deliver Gamora’s adopted sister Nebula, who had been caught earlier trying to steal the batteries. However, this peaceful transaction is disrupted when one of the Guardians, Rocket the Raccoon, steal some of the batteries for himself. The Guardians find themselves hunted by a fleet of ships controlled by the Sovereign and their leader, Ayesha. They eventually crash land on a planet inhabited by a mysterious figure, who destroys the Sovereign fleet for them. That figure turns out to be Ego, Peter Quill’s powerful father first mentioned in the 2014 film. Ego turns out to be a god-like Celestial that manipulated the matter around its consciousness to form his “home” planet. He explains to Peter that he had projected a humanoid guise to travel the universe and discover a purpose. He eventually fell in love with Peter’s mother Meredith Quill. Following her death, Ego hired Yondu to collect the young Quill, but the boy was never delivered and Ego has been searching for his son ever since. The latter invites Quill, Gamora, and Drax to his home planet. Meanwhile, Rocket and Groot remain behind to repair the ship and guard Nebula. Unbeknownst to all, Ayesha has hired Peter’s former mentor, Ravagers leader Yondu Udonta to hunt them down. But the Guardians eventually discover that Ego might prove to be a bigger problem than either Ayesha or Yondu’s crew.

I was surprised by the characterization featured in “GUARDIANS OF THE GALAXY VOL. 2”. It had been one of the strong points of the 2014 movie. But director-writer James Gunn took it to another level in this film, as Gunn’s screenplay further explored the main characters’ backgrounds and emotional concerns. More important, the characterizations featured in this film led to better performances by the cast.

One good example was the exploration of Peter Quill’s relationships with the two father figures in his life – his biological father Ego and his mentor, Yondu Udonta. Peter’s search for a permanent father figure proved to have an ironic twist, considering his longing to meet his real father, Ego’s charismatic personality and his occasionally hostile relationship with Yondu. Chris Pratt had to step up his game to develop Peter’s character even further. He did … and proved that he could be a excellent dramatic actor … for the second (or third) time in his career. Kurt Russell gave a first-rate and charismatic performance in his portrayal of Ego. And thanks to Zoe Saldana and Karen Gillan’s excellent performances, the movie also explored Gamora’s relationships with her adoptive sister, Nebula and their adoptive father, the villainous Thanos. Although the latter did not appear in the movie, his presence was strongly felt – especially in the confrontation between the two women as they confronted the circumstances that led to their estrangement. “GUARDIANS OF THE GALAXY VOL. 2” also featured the further development of Peter and Gamora’s relationship. The potential romance in this relationship not only manifested in a charming dance between the pair on Ego’s planet, but also a heated quarrel in which Peter expressed his frustration at being kept at a distance by Gamora. This scene featured great acting from both Pratt and Saldana.

Bradley Cooper had been highly praised for his voice performance as Rocket the Racoon in the 2014 film. The character’s past was not really explored in this film. Considering his origin as a lab experiment, I found this a pity. But Rocket’s problems with being part of a group and his emotional issues were touched upon – especially in a strong and emotional scene that featured a conversation between him and Yondu, while they were being held prisoner. Both Cooper and actor Michael Rooker nearly stole the movie with this scene between Rocket and Yondu. Also, Rocket found himself serving as the toddler Groot’s protector – a strange twist, considering that the latter had been his protector in the previous film. I understand that actor Vin Diesel continued to provide the voice for Groot – and yes, I do mean Baby Groot. I thought Marvel would hire someone other than the deep-voiced Diesel for the role. But they brought him back. And I am amazed that he was able to forgo his usual deep voice to portray the toddler Groot. And speaking of the Yondu, his past reared its ugly head following the revelation that the other Ravager leaders had exiled his group due to child trafficking on Ego’s behalf – including the kidnapping the young Peter Grill from Earth. This revelation also led to another in which audiences learn the true strength of Peter and Yondu’s relationship.

The very literal Drax the Destroyer forms a strange friendship with a young empath named Mantis, who has been forced to serve as Ego’s “pet” for a number of years. Although Drax’s needling personality and strange sense of humor made his regard for the naive and sheltered seem abusive, I was surprised at how the pair managed to grow close – to the point that Drax nearly sacrificed himself for her safety. In these scenes involving Drax, Dave Bautista proved once again that he was a better actor than many had assumed, due to his past as a professional wrestler. And he had a first-rate co-star in Pom Klementieff’s subtle and charming portrayal of the empathic Manits.

“GUARDIANS OF THE GALAXY VOL. 2” also saw the return of Yondu’s right-hand man, Kraglin, who was forced to overcome his sense of self-preservation in order to come to his captain’s aid when the crew turned on Yondu. Ayesha, the Golden High Priestess and leader of the Sovereign, proved to be another interesting role for actress Elizabeth Debicki’s filmography. Ayesha proved to be not only interesting, but also one of the most arrogant characters in the Marvel Cinematic Universe (MCU) … the type of character that eventually rubbed Rocket the wrong way. Audiences also got an expanded look into the world of the Ravagers. Thanks to Gunn’s script, I realized that most of them – including Yondu – was not as despicable as I had originally assumed. And I was shocked and pleasantly to see the likes of Sylvester Stallone, Michelle Yeoh, Ving Rhames and Michael Rosenbaum as among the older leaders of the Ravangers.

But despite the movie’s strong characterizations, I was not as impressed by “GUARDIANS OF THE GALAXY VOL. 2” as I thought I would be. It lacked something that the 2014 movie possessed – a strong narrative. At first, I thought Ayesha would prove to be the heroes’ main protagonists, considering that she had hired the Ravagers to hunt down the Guardians in the first place. However, about midway into the movie, I realized that she was nothing more than a plot device (and a tiresome one at that) used by Gunn to drive the Guardians into the path of Ego, Peter’s father. And in the end, it was really about him … and his plan to remake the universe into his image, using the seedlings he had implanted on different planets, impregnating various females like Meredith Quill and using his offsprings like Peter.

I know … this sounds confusing. Let me put it this way. For years, Ego traveled to different parts of the universe, planting seedlings on different planets. Then he seduced and impregnated women like Meredith so that he can utilize the powers of his offsprings to activate the seedlings … and he can terraform those planets into his image. As it turned out, Peter was the only offspring who had the power to help him activate the seedlings. Personally, I found this story rather lame. It was more or less just another “meglomaniac” trying to conquer the universe. In a way, it reminded me of Thanos’ narrative within the MCU involving the Infinity Stones … only it involved “seedlings” and Ego’s offsprings. I found this narrative less original and with more shortcuts. The film’s minor plot lines involving the characters’ emotional arcs struck me as more interesting.

The movie also featured the usual first-rate visual effects. I was surprised that so many visual effects companies were involved in the film’s production. I think I managed to count at least nine of them. Wow. Nine companies involved in the visual effects? Hmmm … perhaps I should not have been surprised. “GUARDIANS OF THE GALAXY VOL. 2” seemed to lack a cohesive visual style, despite having a single production designer, Scott Chambliss. Some people were not impressed by the visuals for Ego’s planet, as shown below:

Personally, I was. Mind you, there was nothing mind-blowing about the visual effects for Ego’s planet. But I had enjoyed them, nonetheless. However, I was impressed by the special effects used to visually convey Rocket, Groot, Kraglin and Yondu’s journey across the galaxy – involving several jumps. I found it very effective and rather funny.

Peter Quill’s audio cassette tape played a major role in the score for “GUARDIANS OF THE GALAXY”. Near the end of that particular movie, he came across the package that his mother Meredith had given him just before her death. The package contained another cassette with more of her favorite songs of her youth. I hate to say this, but I was not that impressed by the collection of songs used for “GUARDIANS OF THE GALAXY VOL. 2”, aside from one or two. Even more surprising is that I found the songs featured in the movie’s end credits to be a lot more entertaining … and right for the movie. Pity.

Overall, I enjoyed “GUARDIANS OF THE GALAXY VOL. 2”. It was not exactly a disappointment thanks to the strong characterizations featured in the film and the first-rate performances by a cast led by Chris Pratt and Zoe Saldana. But I must be honest, it was almost a ghost of the 2014 film. And this is due to what I believe was a weak narrative that included a villain with goals that struck me as unoriginal. It is a pity that Nicole Perlman did return to serve as director James Gunn’s co-writer in this second film. I had the odd feeling that needed a collaborator for a stronger narrative.

Universal Pictures recently released its third film in ”THE MUMMY” franchise, starring Brendan Fraser as adventurer Rick O’Connell. This third outing centered around Rick and his family’s attempts to stop the resurrection of a ruthless Chinese emperor in post-World War II China.

The film began with a narration about the rise to power of Emperor Han (Jet Li), the Dragon Emperor and detailed the relationship between him and Xi Yuan (Michelle Yeoh), who knows the secrets of immortality. Han declared to his first in command General Ming (Russell Wong) that no one is to touch Xi Yuan, however ever since General Ming was charged with finding Xi Yuan and bringing her to Han, he ended up falling for her. After Xi Yuan supposedly cast the immortality spell on Han, he ushered Xi Yuan to the balcony where they look down to see General Ming tied at the arms and legs about to be pulled apart by horses. Han found out about their relationship and killed Ming while Xi Yuan watches. He then stabbed her, but she escaped. Knowing that the Emperor would destroy the world if he were to become immortal, Xi Yuan placed a curse on him and his army to be turned to stone.

The movie shifted to late 1946/early 1947, at a time when explorer Rick O’Connell (Fraser), his archeologist/novelist wife Evelyn (Maria Bello) and brother-in-law Jonathan Carnahan (John Hannah) are now retired. Both Rick and Evelyn seemed to be bored with their retirement. Their son Alex (Luke Ford) has dropped out of school and has become what the older O’Connells still long to be, explorers and adventurers. Alex, along with the financial backing of a colleague of his parents, Roger Wilson (David Calder), found and excavated the Dragon Emperor’s tomb and is attacked by a mysterious woman (Isabella Leong). They avoid being harmed and successfully bring the Emperor back to Shanghai, where Jonathan owns a night club called Imhotep. In the meantime, the British government entrusted the elder O’Connells to take the Eye of Shangri-La back to China as a good faith gesture from the British to the Chinese. All the O’Connells end up at Alex’s exhibit in Shanghai. Roger, General Yang (Anthony Wong Chau-Sang) and his second in command Choi (Jessey Meng) intervened, taking the Eye of Shangri-La and forcing Evelyn to read the script to open the Eye and release the Emperor. Alex found the mysterious woman from the excavation site at the exhibit and after a quick dialogue, both helped in freeing Alex’s parents. With the resurrected Han escaping with General Yang, the O’Connells chased them through the streets of Shanghai until the Dragon Emperor and Yang escaped. The mysterious woman turned out to be an immortal named Lin a protector of the Dragon Emperors tomb. She also happened to be Xi Yuan and General Ming’s daughter. Lin informed the O’Connells that Han will try to become immortal by going to Shangri-La using the Eye as its guide.

When I learned that Stephen Sommers, who had directed the first two ”MUMMY” films, would not be returning at the helm to direct this third movie, I had a small suspicion that the latter would not possess the same production values as the first two films. And when Universal Pictures released the news that the film would be released in the second half of the summer, instead of May, my suspicions were confirmed. And I was right. The production values of ”THE MUMMY: Tomb of the Dragon Emperor” did not seem as impressive as its two predecessors. Aside from the impressive set that served as mid-1940s Shanghai, Simon Duggan’s photography failed to capture the epic grandeur of the first two films.

The cinematography was not the only thing about this film that disappointed me. I must admit that I was not that impressed by the film’s final battle near the Great Wall of China. Everything seemed rushed, as if either the two screenwriters – Alfred Gough and Miles Millar (creators of ”SMALLVILLE”) or the film’s director, Rob Cohen (”THE FAST AND THE FURIOUS” and ”XXX”), were in a rush to end the film. What disappointed me more than anything were the two hand-to-hand fight scenes in the finale. After the spectacular fight between Jet Li and Jackie Chan in ”THE FORBIDDEN KINGDOM”, I had expected something just as or nearly as spectacular in the fight scene between Li and Michelle Yeoh. After all, both are martial arts icons who have worked in previous movies together. But it did not last very long. Hell, it barely last two minutes on the screen. And although Li’s fight scene with Fraser did last a longer, it failed to recapture the more interesting fight scene between Fraser and Arnold Vosloo in ”THE MUMMY RETURNS”.

Thankfully, ”THE MUMMY: Tomb of the Dragon Emperor” possessed virtues, as well as flaws. The story of the O’Connell family being manipulated into raising a Chinese mummy turned out to be a solid adventure that took the family from the streets of Shanghai, to the Himalayas, the edge of the fabled Shangri-La and finally China’s famous Great Wall. Even better, the story told the twofold story of Rick and Evelyn learning and failing to deal with professional retirement and their joy in being led into a new adventure. The movie also featured a family drama centered around the O’Connells’ efforts to re-connect with their only son, Alex.

Even though I had expressed disappointment at the screenwriters and Rob Cohen’s handling of the finale, I must admit that the film featured four sequences that I truly enjoyed. The first featured Alex and Wilson’s discovery of Emperor Han’s tomb and their hostile encounter with Lin. The second sequence occurred in the snowy Himalayas, where the O’Connells, Jonathan and Lin attempt to prevent the resurrected Han from reaching the tower that will reveal the path to Shangri-La when the Eye, a precious blue diamond is placed on top of it, and fight off General Yang and some of his men. There is a short moment in the first half of the movie in which a bored Evelyn tries to inject a little excitement in hers and Rick’s lives by seducing him in a slinky nightgown. Instead of being successful, the desperate Evelyn found Rick sitting in an armchair – fast asleep and snoring. This was one of the most hysterical examples of a mid-life crisis I have ever seen on film and probably the funniest moment in the entire franchise. But the sequence that I truly enjoyed featured the O’Connells’ adventures in Shanghai – from the moment when Rick and Evelyn are reconciled with Alex and Jonathan, to the riotous chase sequence through the streets of Shanghai. I thought it was wonderfully detailed and well staged. The sequence also featured a mean hand-to-hand fight scene between Evelyn and Yang’s second-in-command, Choi. Frankly, I consider their fight the best one in the entire movie.

Both Brendan Fraser and John Hannah returned to reprise their roles of Rick O’Connell and Jonathan Carnahan for the third time. And as they had done in the first two movies, did excellent jobs. Come on. This Brendan and John we are talking about. They can do no wrong in my eyes. I honestly have to say the same about Maria Bello as Evelyn Carnahan O’Connell. I must admit that I had been disappointed when I first learned that Rachel Weisz had decided not to reprise the role of Evelyn. Do not get me wrong. I loved Rachel as Evelyn. But I must admit that Maria Bello actually made me forget about her. I enjoyed Maria’s performance as Evelyn that much. Her Evelyn is, of course, older and a little more assured. And like her husband, is bored with life. And I was surprised to discover that she had great chemistry with Fraser. I must admit that I felt a little unsure about Luke Ford’s performance as Alex. There were times I found him rather interesting. There were other times when I found his performance a little over-the-top. I also found his accent rather confusing, until I realized that it was neither American nor British. I discovered that Ford was an Australian actor. But his natural accent did not seem effectively hidden. Isabella Leong did a solid job as the young woman who helps the O’Connells stop Han. But I must admit that I found nothing remarkable or extraordinary about her performance. As for Jet Li . . . well, he was perfect. He is one of the few action stars who could portray both heroic and villainous characters effortlessly. And Michelle Yeoh was wonderfully poignant as the Chinese witch, Xi Yuan, whose curse against the treacherous Han set the entire story in motion.

If I must be frank, ”THE MUMMY: Tomb of the Dragon Emperor” lacked the more prestigious production of the first two films. And its finale was one that I found slightly disappointing. However, it did lack the over-the-top . . . almost screeching quality of the second film – ”THE MUMMY RETURNS”. And thanks to the cast, director Rob Cohen, Alfred Gough and Miles Millar, this third ”MUMMY” film turned out to be an entertaining film that one would experience a lot of fun watching. My opinion? Go see it.